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Octavia Spencer narrated her experience while working with Will Smith to Michael Rainey Jr. and Gianni Paolo and how Will Smith changed her life after doing a movie with him🥹❤️ “I watched how he interacted with the casts, i watched the subtle changes that he made, it’s like watching... show more

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44,192 просмотров • 1 месяц назад •via X (Twitter)

Музыка Здоровье и велнес Искусство

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Hirokazu Koreeda on how he directs Children: "Interviewer: I think 'Shoplifters' (2018) is very remarkable in showing different sides of a city and like you said, people who are pretty much invisible, but I do want to also commend you on another thing, is you often work with young actors, and they always tend to have a significant role in many of your films. How do you go about finding such dynamic young actors, and why do you often put these young people at the center of each one of your stories? Koreeda: First of all, I would say that I tend to make what I would call family dramas, and of course, you have to have children if you’re creating a family, but that’s how it started, but I found that as I did it, I became really interested. It became very interesting and fun to work with these children, and for example, the two children in this film, neither of them had any acting experience at all before this film. I brought them in, and what I find when you bring these children in, and you work with them is that the adult actors change. They become much more lively and natural in the way that they act, and I guess, at some point, I realized this, and I guess, became really attracted to the idea of having children and the impact that it had. Interviewer: Do you find that there is any struggle in terms of working with young actors, or in this case, young children who have not actually acted before? Koreeda: Just to clarify, I have worked with children in many of my films, and all of them have never had experienced before. I always go out and pick non-acting children to work in my films, so just, I wanted to put that out there. In terms of the struggle, it does take time. You have to give extra time to work with these children. When I choose these children, I have an audition, and I pick out who I want to the audition, and then when we get to set, I never give them the script. No child that I’ve worked with has been given a script beforehand, and when I get to the actual part where they’re going to be acting, I give them the lines myself, and work with them and coach them. What I find is that it’s actually really enjoyable, both for them and for myself that way. I also, because I’ve been doing this now for several years, I tend to have a fairly high success rate in choosing children that are able to work with me in that way. Interviewer: That’s fascinating, and it also shows how you are able to create such authentic performances from these child actors over and over again in so many of your films. I think it’s a unique gift that you have, and it’s something that very few directors, I think, here in the United States do. Koreeda: It’s true, I guess by working with these children, I learned. I discovered that the best way to do it was just to communicate verbally their lines, rather than giving them in a written format, and over time, this really worked, and so I just kept doing it. But, interestingly, I loved the movie 'Kramer vs Kramer' (1979), directed by Robert Benton, and one time I bought the movie with all the extra, the making of and everything, and I went over it, and I found through that, that in fact, the child in that movie was also given his lines every day by the assistant director each morning when they came in to set, so I discovered that it wasn’t just me that was doing this." (Koreeda's interview with Scott Menzel, We Live Entertainment, 2018)

Hirokazu Koreeda on how he directs Children: "Interviewer: I think 'Shoplifters' (2018) is very remarkable in showing different sides of a city and like you said, people who are pretty much invisible, but I do want to also commend you on another thing, is you often work with young actors, and they always tend to have a significant role in many of your films. How do you go about finding such dynamic young actors, and why do you often put these young people at the center of each one of your stories? Koreeda: First of all, I would say that I tend to make what I would call family dramas, and of course, you have to have children if you’re creating a family, but that’s how it started, but I found that as I did it, I became really interested. It became very interesting and fun to work with these children, and for example, the two children in this film, neither of them had any acting experience at all before this film. I brought them in, and what I find when you bring these children in, and you work with them is that the adult actors change. They become much more lively and natural in the way that they act, and I guess, at some point, I realized this, and I guess, became really attracted to the idea of having children and the impact that it had. Interviewer: Do you find that there is any struggle in terms of working with young actors, or in this case, young children who have not actually acted before? Koreeda: Just to clarify, I have worked with children in many of my films, and all of them have never had experienced before. I always go out and pick non-acting children to work in my films, so just, I wanted to put that out there. In terms of the struggle, it does take time. You have to give extra time to work with these children. When I choose these children, I have an audition, and I pick out who I want to the audition, and then when we get to set, I never give them the script. No child that I’ve worked with has been given a script beforehand, and when I get to the actual part where they’re going to be acting, I give them the lines myself, and work with them and coach them. What I find is that it’s actually really enjoyable, both for them and for myself that way. I also, because I’ve been doing this now for several years, I tend to have a fairly high success rate in choosing children that are able to work with me in that way. Interviewer: That’s fascinating, and it also shows how you are able to create such authentic performances from these child actors over and over again in so many of your films. I think it’s a unique gift that you have, and it’s something that very few directors, I think, here in the United States do. Koreeda: It’s true, I guess by working with these children, I learned. I discovered that the best way to do it was just to communicate verbally their lines, rather than giving them in a written format, and over time, this really worked, and so I just kept doing it. But, interestingly, I loved the movie 'Kramer vs Kramer' (1979), directed by Robert Benton, and one time I bought the movie with all the extra, the making of and everything, and I went over it, and I found through that, that in fact, the child in that movie was also given his lines every day by the assistant director each morning when they came in to set, so I discovered that it wasn’t just me that was doing this." (Koreeda's interview with Scott Menzel, We Live Entertainment, 2018)

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Guiseppe Tornatore on why he chose Monica Belluci for "Malena" (2000): "I chose Monica because. when I met her I had known about this story for five years. I never thought I was going to make a film out of it. But when I met her, she made me think about this story. So, I started thinking about it, maybe just subconsciously. I started to see that it could be possible- to see the character. And this is a story that, until you start to envision the character you don’t think that the character could actually exist. So when I met her I started to think about it- to elaborate on the story in my mind. And after a while I decided to make the film. When I wrote the film, I wrote it for her- I knew that Monica Bellucci would be Malena. That was extraordinary. I love writing knowing in advance who the actors are going to be. It’s happened a few other times. It’s always been a stronger experience." (Guiseppe Tornatore's interview with Rob Larsen, 2000)

DepressedBergman

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David Lean on how to direct actors & shares a funny story that happened during the filming of 'The Bridge on the River Kwai' (1957) "Interviewer: Could you talk about how you work with your actors? Lean: Dangerous subject. Well, it’s intensely personal. I always try not to speak in a loud voice when I’m talking to an actor on the set. I gently take them aside, and I whisper because I don’t want to give the impression, for their sake, that they are being told to do this or that by a teacher. I try as hard as I can to make them suggest something that I want them to think of. The trouble with actors is that it’s a very di cult job with this damned glass eye looking at them all the time. It’s quite di cult talking to all of you here, but I’d rather talk to all of you than I would have a hundred-millimeter lens pointing at me. It’s so concentrated. It’s part of a director’s job, I think, to get the actor to give as good a performance on the stage as he gave to himself in the bath in the morning. So I try to relieve them of their inhibitions. It doesn’t help if you talk from a great height, from a megaphone, as it were. I try to get their confidence. I try to give them confidence. I can’t bear some actors, the rambunctious types who think they know everything. You’ve got to knock them down and make them realize they don’t know everything. If you’ve really done your homework on the script, you, the director, know the part better than any damned actor because you’ve been at it for months. I’ve had lots of actors who want to change dialogue. I see them doing it. I won’t have it. They took on the script and they’ll stick to it. I’m terribly tempted to tell you a rather long story about Sessue Hayakawa. You know, I nd constantly that actors really are not interested in anything but their own parts. We had a scene in 'The Bridge on the River Kwai' (1957) where they had all the troops lined up, and Sessue gets up on the soapbox and talks. We went through a rehearsal, and I said, “What’s wrong?” Because it was the speech and yet it wasn’t the speech. What Sessue had done was to learn all the lines that were only his. He had cut out all the lines that were anybody else’s. The main script was about that thick, and his script was only that thick. He marked only the pages in which he spoke. He had thrown out the rest and bound it together. Now, we came to the scene at the end of the picture. Alec Guinness is looking over the edge of the bridge and he thinks he sees some wires. He goes up to Hayakawa and says, “Colonel Saito, there’s something rather peculiar going on. I think we better go and have a look.” Guinness walked o the bridge, which leads down to the rocks, and Sessue stayed there like a rock. I said, “Go on, Sessue, follow him.” He said, “I follow him?” I said, “Sessue, this is where you nd the wires and where you get killed.” He said, “I get killed?” He had thrown the page away because he had no dialogue. I’ll tell you another story about an actor, though I won’t tell you who it was. He was damn good, but I was kind of dissatisfied. I said, “Look, I understand that an actor is projecting ninety percent to the person he’s playing with, and ten percent is going out toward the camera. I’ve only just realized that you’re putting ninety percent out to the camera, and ten to whom you’re playing with.” It changed his performance immediately." (David Lean's interview to AFI, 1984)

David Lean on how to direct actors & shares a funny story that happened during the filming of 'The Bridge on the River Kwai' (1957) "Interviewer: Could you talk about how you work with your actors? Lean: Dangerous subject. Well, it’s intensely personal. I always try not to speak in a loud voice when I’m talking to an actor on the set. I gently take them aside, and I whisper because I don’t want to give the impression, for their sake, that they are being told to do this or that by a teacher. I try as hard as I can to make them suggest something that I want them to think of. The trouble with actors is that it’s a very di cult job with this damned glass eye looking at them all the time. It’s quite di cult talking to all of you here, but I’d rather talk to all of you than I would have a hundred-millimeter lens pointing at me. It’s so concentrated. It’s part of a director’s job, I think, to get the actor to give as good a performance on the stage as he gave to himself in the bath in the morning. So I try to relieve them of their inhibitions. It doesn’t help if you talk from a great height, from a megaphone, as it were. I try to get their confidence. I try to give them confidence. I can’t bear some actors, the rambunctious types who think they know everything. You’ve got to knock them down and make them realize they don’t know everything. If you’ve really done your homework on the script, you, the director, know the part better than any damned actor because you’ve been at it for months. I’ve had lots of actors who want to change dialogue. I see them doing it. I won’t have it. They took on the script and they’ll stick to it. I’m terribly tempted to tell you a rather long story about Sessue Hayakawa. You know, I nd constantly that actors really are not interested in anything but their own parts. We had a scene in 'The Bridge on the River Kwai' (1957) where they had all the troops lined up, and Sessue gets up on the soapbox and talks. We went through a rehearsal, and I said, “What’s wrong?” Because it was the speech and yet it wasn’t the speech. What Sessue had done was to learn all the lines that were only his. He had cut out all the lines that were anybody else’s. The main script was about that thick, and his script was only that thick. He marked only the pages in which he spoke. He had thrown out the rest and bound it together. Now, we came to the scene at the end of the picture. Alec Guinness is looking over the edge of the bridge and he thinks he sees some wires. He goes up to Hayakawa and says, “Colonel Saito, there’s something rather peculiar going on. I think we better go and have a look.” Guinness walked o the bridge, which leads down to the rocks, and Sessue stayed there like a rock. I said, “Go on, Sessue, follow him.” He said, “I follow him?” I said, “Sessue, this is where you nd the wires and where you get killed.” He said, “I get killed?” He had thrown the page away because he had no dialogue. I’ll tell you another story about an actor, though I won’t tell you who it was. He was damn good, but I was kind of dissatisfied. I said, “Look, I understand that an actor is projecting ninety percent to the person he’s playing with, and ten percent is going out toward the camera. I’ve only just realized that you’re putting ninety percent out to the camera, and ten to whom you’re playing with.” It changed his performance immediately." (David Lean's interview to AFI, 1984)

DepressedBergman

36,391 просмотров • 6 месяцев назад

Sooyoung: i heard from the director and staff, they said those who used to be on stage is different.. they said we prepared differently! To be honest, when I first heard it i kind of disliked it, because i also feel comfortable and free at the site… at that moment ì focus on what i would do on a scene because i really like doing that.. i have lived a life where i always had to prepare for something, so i will always looking at my script, thinking how should i move during a scene, of course the others actors did this too, so we continue to prepare like this! (how idol turned actress/actors had this compulsion where they had to prepare perfectly)

Sooyoung: i heard from the director and staff, they said those who used to be on stage is different.. they said we prepared differently! To be honest, when I first heard it i kind of disliked it, because i also feel comfortable and free at the site… at that moment ì focus on what i would do on a scene because i really like doing that.. i have lived a life where i always had to prepare for something, so i will always looking at my script, thinking how should i move during a scene, of course the others actors did this too, so we continue to prepare like this! (how idol turned actress/actors had this compulsion where they had to prepare perfectly)

for Sooyoung Choi

24,449 просмотров • 2 лет назад

A few years ago Jessi asked me if I would be interested in being her next co-host for the Bardown Beauties Podcast. People have always asked me how that came to be and this is how. I knew of Jessi when I started working with the Wild, and interacted with her initially when I was a guest on the podcast and then she and Alexis were guests on the show I hosted for the Wild at the time. But, the first summer I spent working for DaBeauty League was where I went from knowing Jessi as a professional and got to know Jessi on an incredibly personal level. This was the stuff we did that summer. We talked about life, we had fun, and she signed herself up to get some of her hair shaved off. This is one of the videos I’ve watched over and over these last few days because this is where it really all started and I’m forever grateful for it.

A few years ago Jessi asked me if I would be interested in being her next co-host for the Bardown Beauties Podcast. People have always asked me how that came to be and this is how. I knew of Jessi when I started working with the Wild, and interacted with her initially when I was a guest on the podcast and then she and Alexis were guests on the show I hosted for the Wild at the time. But, the first summer I spent working for DaBeauty League was where I went from knowing Jessi as a professional and got to know Jessi on an incredibly personal level. This was the stuff we did that summer. We talked about life, we had fun, and she signed herself up to get some of her hair shaved off. This is one of the videos I’ve watched over and over these last few days because this is where it really all started and I’m forever grateful for it.

Kirsten Krull

76,067 просмотров • 4 месяцев назад

😥Francis Ngannou shares how tragic loss of his son changed his attitude towards life: “When I think about the last time I saw him, it was me leaving the apartment and going to the elevator. My brother was holding him, and he was crying, not wanting me to leave. But I just knew I was going to be back. I thought everything was going to be okay. Those are the moments you take for granted. When it happened, all of a sudden I started thinking, “Where was I even going?” Nothing mattered. The last time. I’m like, “I should’ve gone back. Maybe changed my flight. Stayed one more day, two more days.” You realize that so many things that feel important in the moment really aren’t. That was the hardest moment of my life, and I know it changed me moving forward.” (via Daniel Cormier)

😥Francis Ngannou shares how tragic loss of his son changed his attitude towards life: “When I think about the last time I saw him, it was me leaving the apartment and going to the elevator. My brother was holding him, and he was crying, not wanting me to leave. But I just knew I was going to be back. I thought everything was going to be okay. Those are the moments you take for granted. When it happened, all of a sudden I started thinking, “Where was I even going?” Nothing mattered. The last time. I’m like, “I should’ve gone back. Maybe changed my flight. Stayed one more day, two more days.” You realize that so many things that feel important in the moment really aren’t. That was the hardest moment of my life, and I know it changed me moving forward.” (via Daniel Cormier)

Home of Fight

305,116 просмотров • 2 месяцев назад

Whenever I feel there might be a conflict, or if the neighbor likes to be difficult I will always get a survey first before even saying anything. Once that’s in hand I will then let them know I am planning a fence or doing something else. I feel that way they can’t argue with the facts but sometimes they like to anyways. This woman knows the fence isn’t on her property and even avoids it by a few feet. Yet she starts removing the fence as it’s being built, would you stand for this? How do you stop someone who won’t respect the lines? I think the best way is to document everything with paperwork and video. Install a camera so there is proof they are doing what they are doing. I always try to cover my end that’s why I always have cameras everywhere. I never know when I might need it. If I end up in court then it’s no longer here say with evidence. I try to avoid confrontation as much as I can but sometimes it’s unavoidable. I’ve always lived life the way I see fit and I try to always do the right thing. I refuse to let others dictate how I do things especially if my way is proven to be effective. Dealing with stubborn neighbors can be drab but eventually it will work out, it’s the time in between that’s frustrating. The last time I did the fence. The neighbor at first tried to didn’t like the idea she would have a fence on one side of her driveway in case she opened the door and hit it. I explained to her that sometimes there may be kids playing and that I didn’t want a stray toy or ball to hit her house or car. At the end of the day she was reasonable and didn’t give me a hard time from that point on. But I think about how it could have gone awry like how this lady wouldn’t listen to reason.

Whenever I feel there might be a conflict, or if the neighbor likes to be difficult I will always get a survey first before even saying anything. Once that’s in hand I will then let them know I am planning a fence or doing something else. I feel that way they can’t argue with the facts but sometimes they like to anyways. This woman knows the fence isn’t on her property and even avoids it by a few feet. Yet she starts removing the fence as it’s being built, would you stand for this? How do you stop someone who won’t respect the lines? I think the best way is to document everything with paperwork and video. Install a camera so there is proof they are doing what they are doing. I always try to cover my end that’s why I always have cameras everywhere. I never know when I might need it. If I end up in court then it’s no longer here say with evidence. I try to avoid confrontation as much as I can but sometimes it’s unavoidable. I’ve always lived life the way I see fit and I try to always do the right thing. I refuse to let others dictate how I do things especially if my way is proven to be effective. Dealing with stubborn neighbors can be drab but eventually it will work out, it’s the time in between that’s frustrating. The last time I did the fence. The neighbor at first tried to didn’t like the idea she would have a fence on one side of her driveway in case she opened the door and hit it. I explained to her that sometimes there may be kids playing and that I didn’t want a stray toy or ball to hit her house or car. At the end of the day she was reasonable and didn’t give me a hard time from that point on. But I think about how it could have gone awry like how this lady wouldn’t listen to reason.

SonnyBoy🇺🇸

140,595 просмотров • 1 месяц назад

“Of course Michael would still be alive if I was in his life. I had told some people, some friend that if I don’t get to Michael he ain’t gonna be here for long, he won’t be with us long and I called the shot to exactly what had happened. I just didn’t like to see him laying in the casket. I wouldn’t even go there because I did not want to remember him like that. I wanted to remember him life and dancing on stage. He’s my son! ❤️‍🩹” — Joe Jackson says when he was asked if Michael Jackson would still be alive if he was in his life.

“Of course Michael would still be alive if I was in his life. I had told some people, some friend that if I don’t get to Michael he ain’t gonna be here for long, he won’t be with us long and I called the shot to exactly what had happened. I just didn’t like to see him laying in the casket. I wouldn’t even go there because I did not want to remember him like that. I wanted to remember him life and dancing on stage. He’s my son! ❤️‍🩹” — Joe Jackson says when he was asked if Michael Jackson would still be alive if he was in his life.

Q👽

72,047 просмотров • 2 месяцев назад

#YUNHO said he was in the car with #SEONGHWA when his Lee Mujin Service came out 🥹 🐶: Seonghwa-hyung was sitting next to me, I was watching it too, and so.. he had his earphones in and was monitoring it. And while he was monitoring himself he just started smiling. And seeing him smile like that, without me even realising it, made me happy too? Yes.. I guess I felt really proud. There were some parts where they commented and spoke in between (the songs) too, and.. I feel like that too sometimes so I understood, that feeling of being proud of himself while watching. And also, I witnessed him preparing for this so.. and while he was watching it, I was next to him and he was just like…(imitates him looking down at the phone with a proud smile)… smiling. And I thought, ’Ah, thankfully he must be satisfied with how it came out.’ And so I was like that (smiling) too while watching, it was nice to see him like that #성화 #윤호

#YUNHO said he was in the car with #SEONGHWA when his Lee Mujin Service came out 🥹 🐶: Seonghwa-hyung was sitting next to me, I was watching it too, and so.. he had his earphones in and was monitoring it. And while he was monitoring himself he just started smiling. And seeing him smile like that, without me even realising it, made me happy too? Yes.. I guess I felt really proud. There were some parts where they commented and spoke in between (the songs) too, and.. I feel like that too sometimes so I understood, that feeling of being proud of himself while watching. And also, I witnessed him preparing for this so.. and while he was watching it, I was next to him and he was just like…(imitates him looking down at the phone with a proud smile)… smiling. And I thought, ’Ah, thankfully he must be satisfied with how it came out.’ And so I was like that (smiling) too while watching, it was nice to see him like that #성화 #윤호

Everything Seonghwa

57,218 просмотров • 1 год назад